INSIDE SCENE

Cover Story Mr. Leon
Guiness Book Of CDs
"September Song"
The Night Karaoke Died
Karaoke Country King Is Crowned
I Sing The Pod Electric
Rock 'n Roll Trivia
She shouldnt Cher her sining talent
Karaoke Artwork
A price for public music
Singing karaoke lifts spirits of those in rehab
Karaoke around the world
Folk-a-fied, Country-fried, Pop-Rock-Blues-Electronica
10 Seconds To Win

Mr. Leon
Cover Story

Leon Billups Jr. was born February 8, 1947, to Leon Billups Sr. & Cornelius Billups in Glendora, Mississippi. At the age of eight he moved to Money, Mississippi and lived there until age sixteen when his mother died. He then moved to East St. Louis where he finished school and joined the Navy in 1964. He went to boot camp in Great Lakes IL, after boot camp he spent the next three years on the U.S.S. Rehoboth AGS-50 in San Francisco, Ca. While on this ship he traveled from the southern tip of Russia to Australia and all the land in between. During this time he married Barbara Goldsmith and had a son named Shawn Billups. After serving two terms in Viet Nam he got out of the Navy on December 18, 1967.

Leon went to market training school and worked in the
grocery business for about five years. He also owned and
operated a bar for five years. He decided to go back to school for cosmetology in Oakland, Ca. Between 1978-1984 he owned and operated a hair shop in Oakland, Ca. In 1984 his job with the Military Sealift Command moved him to San Diego where he met and fell in love with Elsie Lott. They were married in 1997. From this marriage a daughter was born, Tara Billups. After the birth of Tara he went back into the hair business, he operates a shop called Hollywood & Hair in National City, Ca. As a hobby he took up Karaoke, he liked it so well that he bought his own system and now he hosts shows around town in different clubs. Some of the clubs are the American Legion, the VFW, Tina's Place, Joey's, the Round Table, Max's Restaurant, and Etta's, Smokey's 1&2 and Chasers. He has had the longest running Karaoke show at one place and that's the American Legion in San Diego, CA. His new hobby is working on
computers and learning all he can about how to use them.

GUINNESS BOOK OF CDs
(or, this is one for the record)
by Bud Young

There is currently under way a movement to determine who was the first to introduce Karaoke into Southern California.

First??.. So.Cal.? .. Hah! Surely you jest!!

Yes, credit has been given to Tokyoko, Japan, Fan Ur Jon, North Korea, and even Peeking Boo, China. However, as I remain the ultimate and indisputable source for information regarding the historic creation and evolution of this media of entertainment, I ask that each and every one of you readers pay homage to the following listing of people through the ages who have employed and refined the "K" format.

First?.. So.Ca.?.... Hah!.. Read on!!

Garden of Eden-- Adam, after giving Eve a ribbing, musically reminded her that "WE'VE ONLY JUST BEGUN"... and when Adam went out to raise Cain, he reminded Eve to "DON'T SIT UNDER THE APPLE TREE WITH ANYONE ELSE BUT ME".. ( later, the bare truth came out.)

Noah, when trying to load the ark crooned "TWO OF A KIND WORKING ON A FULL BOAT"... and later was heard whistling "RAINDROPS KEEP FALLING ON MY HEAD"

MOSES, who threatened the Pharaoh with "FIRE AND RAIN" and "SPIDERS AND SNAKES".

LOT'S wife, when fleeing from the twin sin cities was surprised when she chimed "TURN AROUND, LOOK AT ME".

NERO, after he was told he would not be allowed to build a Karaoke Kolosium burned Rome to the ground. "K" was very popular in Rome---- even Caesar took a few "stabs" at it.

Egypt had it's share of Karaoke Kweens. After Marc Anthony barged out on her, Cleopatra was heard to wail "KISS ME DEADLY" .. all the while shaking her asp.

King Arthur, at the Round Table, decreed that Sirs Lancelot, Galahad and Gawain were the only (k)nights set aside for Karaoke.

Joan de Arc, after being fired, was mumbling something about "SMOKE GETS IN MY EYES"

In the Revolutionary War, the Boston Harbor theme Park's official song was "TEA FOR TWO"... AND Ben Franklin, after discovering electricity running through his kite string, added sparks to his rendition of "YOU LIGHT UP MY WIG".

The Civil War had it's share of musical memories.. like General Sherman taking a "MIDNIGHT TRAIN TO GEORGIA", and Generals Grant and Lee at Appomatox harmonizing to "RE-UNITED'.

Wild Bill Hickock, in Deadwood, South Dakota, after hearing a woman give out with 69 verses of "El PASO", declared, "You are a calamity, Jane, Then he drew his guns and shot himself in the back.... six times.

Thomas Edison, after inventing the telephone, called his associate Mr. Watson, only to get a voice mail of "SAY YOU, SAY ME".

First?? So. Ca.?? .. Again I say, "HAH"!!!

So before you jump up to defend your favorite "K" venue, admit that before you read this column you were completely unaware that the history of "K" dwarfs any modern day claim.

Remember, it is not the first one to have Karaoke, but rather the one who makes it "LAST"!!

KARAOKE KOLLEGE
Mic. Technique

by Johnny Stewart

I don't think the word "mic." is in the dictionary. Neither is "karaoke". Mic is an abbreviation we use for microphone.

Your mic. Is a musical instrument. It can be played various ways to produce different tones. It has other uses also: I've heard it can be used as a weapon. I myself have heard it used as one. It can also be used as a catapult. If you swing it fast enough it will fly off and travel many feet across the room striking an unaware victim or landing in their guacamole. You can also cause ear damage by pointing the mic. at one of the speakers. There is legislation currently underway to make it mandatory to install safety locks on unattended mics.

A microphone is a very simple piece of equipment. It is like a loud speaker in reverse. In fact you can use the speakers in your headset as a mic. I've done it. Come on you've forgotten your mics before, haven't you?

A mic is a simple diaphragm connected to a coil of wire. The coil surrounds a magnet. As the diaphragm vibrates the coil of wire past the magnet is induces electric current at varying frequencies. Not much electricity is produced but it is enough. The signal is then amplified by a pre-amp in your mixer or karaoke machine.

There are many different types of mics. They were mentioned in the August issue of San Diego Scene Karaoke. So let's not talk about that now.

Most people know which end to sing into. That's the end with all the lipstick smudged on it. At one time it was actually round, before being used as a catapult.

If you sing close to the mic. you get a deeper sound. As you move away from the mic. you get less volume and less of a deep sound. For you tech. fans, this is called the proximity effect.

If you sing pretty loud, don't sing right into the mic. you can cause distortion.

There are many ways to hold a mic. Do not hold the mic. as seen on MTV. If you cup your hands over the end of the mic. it will cause feedback, (that screeching noise) the KJ will then have no choice but to turn you mic. down.

If you find that your mic. is never loud enough when you go out to a club, do not start by saying to your KJ just before you start, "can you give me more mic. volume." They hear that all the time. The best thing to do is sing at a normal volume for you right at the start of your song. Remember the music will probably get louder at the end of the song. If the KJ leaves the stage, you are on your own then to get enough volume to finish the song. So start a little softer at the beginning of the song. If you can't be heard over the music, a good KJ will adjust the music and the mic. to your needs. If after you sing you or your friends think your voice wasn't loud enough, then talk to the KJ about it. The KJ wants you to have a good experience. If they don't want to help, consult our "Club Calendar," there are one hundred and fifty clubs in San Diego offering karaoke.

Don't hide behind your mic. Hold the mic. at a forty five to ninety degree angle and sing just over the mic. about two inches away.

If your mic. is on a stand, leave it on the stand and make use your hands for emphasis. If you take the mic. off the stand then put the stand behind you, get it out of the way.

If you think the mic. has less volume when you sing loud into it, it is not your imagination the KJ is probably using a compressor/limiter on your mic. This protects his speakers from screamers and feedback. The louder you get the more the compressor holds you back. When you sing louder, hold the mic a little farther away . Don't fight the compressor. Sing at normal volume, you can't beat the compressor.

Music has dynamics (loud and soft parts). Your vocal presentation should also have dynamics. A good KJ will hear what you are doing and control his music for you, unless he or she is out in the audience discussing with another customer, whether to use the DK disc or the Sound Choice disc. Boy do you feel alone when that happens. I admit it, as a KJ, I've done it myself. Sorry about that, we forget sometimes.

I hope this helps. If you have any questions go to SanDiegoScene. com and leave me a message. I'll get back to you. Johnny Stewart

"SEPTEMBER SONG"
by Margaret Williams

Although many people don't believe we have a change of seasons in California, I do! That must be my inspiration for making suggestions to keep us up and singing.

I might have titled this little piece "The Human Energy Power Plant."

We all know that depression is an energy waster. As opposed to Western medicine, Chinese medicine does not single out the brain as separate from the rest of the body. Depression is an imbalance of energy in all the major life-flow meridians ­ liver, heart, lungs, kidneys, etc.

Tiny needles, inserted in carefully selected acupuncture points, can produce the feeling of energy (chi) running like electricity along the meridians. In addition to acupuncture producing a relaxed feeling, it may also produce a feeling of a natural high. If one has a chi (energy) deficiency, acupuncture will help any number of our common complaints.

An interesting concept comes from acupuncturist and herbalist Christopher Hobbs, who believes our energy shortage is due to mismanagement. He says, "We take great care in running our finances, but we never think about managing our energy." He asks these questions: How might you increase the day-to-day amount you have available? How can you add to your deeper reserves? Is there any way to use it more efficiently?

Hobbs, along with a team of 15 medical experts, in a recent issue of "Oprah," have made these suggestions:

To override an energy dip, have a slice of avocado or a small handful of nuts-snacks containing healthy fats offer smooth, long-lasting octane.

Complex uncooked carbs (like muesli) and a bit of protein will give you slow sustained energy.

Switch to green tea, which has some caffeine and lots of cancer-fighting antioxidants.

Fill a big bowl with equal parts water and vinegar, and add sliced cucumbers. Chill it and throughout the day, refresh yourself with a cucumber nosh.

Get a blood test for both low thyroid function and anemia­ two of the most common and treatable causes of fatigue.

Think about any concerns that are depleting your emotional reserves. Stewing over a grudge? Anxious about employment? Consider letting go for a period of time.

If you're spread so thin you're just about threadbare, gaze inward: Are you using frenetic activity to avoid feeling pain? Or to mask some kind of insecurity? And are you willing to address those problems so you can restock your vitality?

On your commute home, don't read or listen to the news. Pop your favorite album into your car stereo or portable CD player for nerve-firing or soothing music.

When you get home from work, stretch for five minutes. "It takes energy to hold our muscles tight ­ a big waster," Hobbs says.

Other experts have additional comments on the subject

"Write down what your purpose in life is. You have to be going somewhere to have the energy you need to get there," says cardiologist Mehmet Oz, MD.

"Exercise gets your heart pumping more blood to the muscles, it's one of the best antidotes to fatigue," says internist Marianne Legato, MD.

"There's nothing on the planet better than getting up and moving," says nutrition and metabolism expert Pamela Peeke, MD.

"Arousal" says sexuality expert Pepper Schwartz, PhD, "is like the energy you feel when you start a race. Your senses are alive, your focus is more intense, you're more aware of your body."

"Enthusiasm, radiance, joy ­ these energetic states come from happy emotions," says stress expert Alice Domar PhD.

Remember, it takes fewer muscles to SMILE than it does to frown.

"ENERGY IS ETERNAL DELIGHT." ­ William Blake

Let's resolve to build that energy and get out there and SING, no matter what the season!

I always appreciate receiving your thoughts and ideas. "You can reach me by --- E-mail" at mwfritzy@san.rr.com.

"The Night Karaoke Died"

The karaoke phenomenon has met its match at Oops Dinner Theatre! 'The Night Karaoke Died,' a musical comedy spoof which opened at Oops Dinner Theatre on July 11, 2003, has proven to be such a hit that it will be extended through October, 2004, replacing the originally scheduled run of Larry Shue's Broadway comedy "The Foreigner."

Triggered by the karaoke phenomenon, 'The Night Karaoke Died' is another comic contribution straight from the mind of Minnesota's own Pamela Docken, author of hit musical comedies 'An Ole and Lena Christmas' and 'Ole and Lena go to da Lake.' Docken's interactive musical spoof is based on a karaoke contest gone wrong... is beautifully executed by a talented cast of singing satirists. Docken's cleverly crafted interactive script allows for different endings based on which character the audience picks to win the contest.

"The show itself, written by local talent Pamela Docken... is a hoot... behold, the power of Karaoke!" Heather Edwards, Staff Writer, Ramsey County Review.

Pamela's work has allowed Oops Theatre, which does not receive any public or private funding, the ability to thrive in a downturn economy. Oops Dinner Theatre is located in North St. Paul, Minnesota. Performances run Thursday through Sunday. If you are interested in more information call 651-777-4150 or visit their website at www.oopstheatre.com.

Disney's Karaoke Series Starts On a High Note with ``Greatest Hits''

The Mouse is ready to rock your house with the launch of Walt Disney Records' brand new karaoke series, which came to retail in September.

The first four releases -- "Disney's Karaoke Series": "Disney's Greatest Hits," "Lizzie McGuire," "Disney Princess" and "The Lion King" -- are the start of an exciting new line of CD + Graphics (CD + G) technology which allows the song lyrics to appear on a television screen when played in a CD + G machine. Each album will include eight well-loved Disney songs, both with and without vocals -- sixteen tracks in all! In addition to playing in karaoke machines, these versatile CDGs also can be used in traditional CD players, making them perfect for car trips, parties, family fun and those special occasions when you want to unleash the pop star within.

"Disney's Greatest Hits" features timeless tunes such as "The Mickey Mouse Club March" and "I Wan'na Be Like You (The Monkey Song)" ("The Jungle Book"), along with the modern favorites "Under the Sea" ("The Little Mermaid"), "Friend Like Me" ("Aladdin") and "Go the Distance" ("Hercules").

"Lizzie McGuire" will make you want to grab the nearest hairbrush and belt out "The Tide Is High" just like Lizzie did. The CDG invites you to sing your own versions of the hit songs "Why Not" and "I Can't Wait," and the theme song to the "Lizzie McGuire" television show.

If you've dreamed of being a "Disney Princess," you'll love getting your moment in the spotlight singing your heart out to classics like "A Dream Is a Wish Your Heart Makes" ("Cinderella"), the melodious "Colors of the Wind" ("Pocahontas") or the romantic "Beauty and the Beast" ("Beauty and the Beast").

Not to be outdone, "The Lion King" installment of the karaoke series immerses you in music from of one of Disney's most beloved animated features. Your voice can soar with the lyrics from "Circle of Life" and "Can You Feel the Love Tonight" or enjoy the playful tune of "Hakuna Matata."

Complete track listings are as follows:

Disney's Greatest Hits

1-8. Instrumentals
9. The Mickey Mouse Club March
10. Zip-A-Dee-Doo-Dah
11. Never Smile at a Crocodile
12. Go the Distance
13. Friend Like Me
14. I Wan'na Be Like You (The Monkey Song)
15. Under the Sea
16. Bella Notte

Karaoke Country King is Crowned
Michael Kelly of Keizer wins at Talent Quest 2003.

Michael Kelly is the best male country singer in the country.

At least according to the judges at Talent Quest 2003, a national singing competition that awarded Keizer resident Kelly first place on Sept. 20 at the finals in Laughlin, Nev.

Kelly made it through four rounds of competition and swayed the judges with his performance of the Garth Brooks song "Callin' Baton Rouge."

"He did a great job," said Bill Keller, owner and producer of Talent Quest.

"When the MC and myself saw him, we said, 'That guy is going to be hard to beat.'"

For his efforts, Kelly won $3,500, a trophy, one year's worth of karaoke CDs and a gift certificate to the Ramada Express Hotel in Laughlin.

About 60,000 people from around the country competed since February in various elimination contests for Talent Quest at their hometown clubs. About 150 people made it to the national competition in Nevada.

Kelly said there were about 30 people in his category.

"It was very satisfying to go down there and compete against the best in the nation and come away with first place," he said.

Keller of Talent Quest said the judges were impressed with Kelly's overall performance and that he got near-perfect scores in the vocal category.

"Vocal ability counts for 50 percent of their score, which Michael had down pat," Keller said.

"He came out dressed country western. He moves around the stage and really gets the audience going. He projects himself well, which is exactly what the judges are looking for."

Next year, Kelly said he plans to compete in the pop/rock category for Talent Quest.

"There seems to be much stronger competition in the pop category," he said.

"It might be that type of music lends itself better to a greater variety of singers and performances. So it will be a greater challenge to compete in that category."

I Sing The Pod Electric

Korean artist Lee Bul produces art that investigates the human body in a technologically-mediated society. In Live Forever she presents three fully functional, soundproof "karaoke pods" outfitted with a selection of pop songs that visitors can perform. Inspired by Stanley Kubrick's 2001: A Space Odyssey and 1950s concept car designs, the pods provide a safe place
where visitors can sing to their hearts' content with no fear of being overheard from without.

These environments are designed to heighten the suspension
between the vicarious and the visceral that Bul finds to be the most fascinating aspect of the phenomenon of karaoke -- which is a distinctive part of the contemporary
culture of urban Asia. Like the accompanying video works whose images spin, speed and circle erratically defying all lawsof nature, this new work takes the viewer on a journey where one can live forever in memory and imagination.

Essentially Bul has given karaoke a kind of solitary twist:
What's normally a public and social event is transformed
into a solitary experiment. Will you sing louder or quieter when you're sealed off from the rest of the world?

Rock 'n Roll Trivia

Considered to be the first Rock and Roll star, Big Joe Turner
released "Shake Rattle and Roll" in 1954. The song, the first Rock
and Roll song to reach #1, was thought to be by many way too
suggestive. Later that year Bill Haley rewrote a toned down version
which catapulted him into stardom as well also topping the charts.
That is the Bill Haley version which most people are more familiar
with.

Written by Paul Leka (Green Tambourine), "Na Na Hey Hey Kiss Him
Goodbye" was supposed to be just a lyric place holder as a "B" side
to the song "It's the Magic In You Girl". The intent was that no DJ
would play the song. Unfortunately for the group Steam, DJ's liked
the song and it was a smash #1 hit for the group. It was to be the
band's only hit replacing The Beatles "Come Together" at the top of
the chart. Anyone that has ever been to a sporting event will
recognize the song instantly (particularly fans of basketball).

Another case of a one hit wonder, The Marathons were a fictitious
group who were really the members of the Vibrations (of Watusi
Fame). H.B. Barnum thought the groups sound was perfect for a
novelty song he Co-wrote called "Peanut Butter". Surprisingly the
song was a smash hit and when Checker Records discovered the charade
the group had it's first and last hit. It's popularity has spanned
many years and was recently used as a jingle for a popular brand of
peanut butter.

? Mark (Question Mark)and the Mysterians were somewhat of a
mystery themselves. Formed in the early 1960's in Saginaw Michigan,
the band had huge success and are typically associated with their #1
hit "96 Tears". Rumor has it they recorded the song in their
managers living room giving it the raw sound that was thought to be
the beginnings of the "Garage Band" sound. A quick note: Rudy
Martinez aka ? Mark actually had his name legally changed to the
punctuation mark (maybe that's where Prince got the idea?). If you
don't recognize the song by name you will certainly recognize it when
you hear it. It is one of the most aired songs on Oldies Radio and
is thought to be played at least 1 time in each 24 hours rotation on
any station.

Hank Ballard claimed his inspiration to sing was Gene Autry. He
joined the Royals, who changed their name to the Midnighters, in the
early 1950's. They had the biggest R&B hit of 1954 with "Work With
Me Annie". In 1958 Ballard wrote and recorded "The Twist" which was
released as a "B" side. Later the song was covered by Chubby Checker
and was a #1 hit. The success of the remake didn't bother Ballard
who with the Midnighters had 3 simultaneous hits in the pop top
40 "Finger Poppin' Time," "Let's Go, Let's Go, Let's Go," and their
original version of "The Twist. "There's something about music
that's just therapeutic. If you're looking for youth, you're looking
for longevity, just take a dose of rock 'n' roll," Ballard said in a
1996 interview at the Rockport Rhythm and Blues Festival. "It keeps
you going. Just like the caffeine in your coffee. Rock 'n' roll is
good for the soul"

Bennie Bell was determined to make a career in music, even though his
father wanted him to become a rabbi. During the '40s he wrote songs
for juke boxes in cocktail bars because their location gave him the
opportunity to indulge his talent for risque lyrics. His first song
to be noticed was "Take A Ship For Yourself". This was followed in
1946 by "Shaving Cream", with a vocal by Paul Wynn, which became a
cult hit. At the time its notoriety ruled out airplay, but in 1975 a
New York radio station played the record, prefaced with the warning:
If you have children in the room, or if you are particularly
sensitive to a dangerously naughty record, you should leave the room
or switch stations immediately. Naturally, the audience's interest
was aroused and the record made the US Top 30 singles chart.

Grease is one of the most popular musicals ever to make it from
Broadway to the big screen. It's wide appeal is still apparent today
(the 20th anniversary of the film a few years ago is proof of that).
It produced a number of hits including "Beauty School
Dropout", "Summer Lovin'" and this song which was a #1 hit for 9
weeks on the charts "You're The One That I Want". Some interesting
facts about the film. Henry Winkler turned down John Travolta's
(Danny) part as to not be type cast (hmm and the Fonz of Happy Days
wasn't?). Also Marie Osmond was originally offered the role of Sandy
which she turned down (good break for Olivia Newtown-John).

Paul Simon has had a very successful career as a
singer/songwriter. Teaming with Art Garfunkel, the duo had many hits
in the mid to late 1960s such as Cecilia, Sounds Of Silence, The
Boxer, and Mrs. Robinson. He also wrote such hits as 69th Street
Bridge song (Feeling Groovy)which was a hit for Harper's Bazaar and
Red Rubber Ball, which was a hit for The Cyrkle. The duo's biggest
hit and ironically the cause of their breakup was a song about unity
called "Bridge Over Troubled Water". Art did not want to even sing
or like the song but reluctantly sang the solo in concert while Paul
was seen brooding off to the side of the stage. Shortly after the
release, they parted ways. The song though was #1 for 10 weeks in
1970 and was the biggest pop record of the year.

There is no song that is thought to be more of an influence in Rock
and Roll history than "(We're Gonna) Rock Around The Clock" by Bill
Haley and His Comets. That's not to say it was the first but it
certainly was the most famous being featured in the movie "The
Blackboard Jungle". It has sold more than 25 million copies and has
been remade by an estimated 10,000 artists worldwide. It hit the
charts almost a year after being released and was a #1 hit for 8
weeks in 1955 as well as a top 10 song for the whole decade of the
50's. He also rerecorded it for the opening credits for the TV
show "Happy Days" although that version was never officially
released.

Sheb Wooley has had a successful duel career in Hollywood and
Nashville. To country fans he has perhaps best been known for his
million dollar selling novelty tunes like Don't Go Near The Eskimos,
Harper Valley P.T.A. and Fifteen Beers Ago, which were recorded under
the pseudonym "Ben Colder. He also starred with Clint Eastwood in
Rawhide as well as the movies High Noon, Rio Bravo, and Giant just to
name a few of the more than 50 he was in. In 1958 he slapped
together Purple People Eater in about a half hour and it was a smash,
selling 1 million copies in the first 3 weeks and to this date over
100 million copies. It was #1 on the charts for 6 weeks of that
year.

She shouldn't Cher her singing talent
BY LORI BORGMAN

People I know reasonably well (people I have given birth to), have been trying to hammer into my head a list of things they think it best I not do. So far, the number of items on the "Mom Should Not" list has numbered only four.

1. Mom should not use outdated phrases like, "That's what I'm talkin' 'bout!" Pretending to be hip is not funny.

2. Mom should not stand at the front door every time someone leaves and yell, "Make good choices!" This is not funny either.

3. Mom should not wear clothes that don't match, even for a quick trip to the grocery store.

4. Mom should not wave at cars that look vaguely familiar because she might know someone inside. This is plain embarrassing.

As you can tell, I have a full plate of behaviors to try and curb.

Now, they have added a fifth thing I should not do - karaoke.

Naturally, the kids were completely and totally mortified when they found out the husband and I had done karaoke in public.

"What were you thinking?" the chief interrogator wailed.

"Well, we were at this party and there was a big tent and party lights and good food, and the next thing I knew, somebody yelled `Karaoke!' Your dad said, 'Let's do it.' He pulled me out of my chair and I thought it would be funny to pretend like we were volunteering, but he wasn't pretending."

"Why didn't you call home? You've always told us if a party gets out of control to call immediately and you'll come and get us. Any one of the three of us kids would gladly have driven there to bring you both home."

"It was just one little Sonny and Cher song," I said. "How hard could it be to do 'I Got You Babe?'"

"It was terrible, wasn't it?" the interrogator asked, hiding her face in her hands.

"Oh honey, terrible is such a strong word. I prefer to think we simply stylized the song. We gave it our own touch by singing off key, missing the beat and singing different verses at the same time."

"How will we kids ever show our faces again?" she asked.

"Look, at first I did have karaoke remorse. But you know what? We were just helping the party along. We stepped up and lowered the bar so that everyone who followed us looked good."

"Sure," she said.

"Maybe the singing part was awful, but a lot of singers today are awful. It's not so much about singing as it is the moves," I said with confidence.

"You had moves? Mom, tell me you're kidding!"

"You know how Cher throws her mike into the air a little ways and catches it? Well, that was my move. It was the only move I had, so I did it a lot. And I think your dad did his Elvis 'Thankya vera much!' bit at the end. I'm not sure, what with all the excitement, it was kind of a blur."

"I almost wish I could have seen it," she said.

"You can. They videotaped it."

"Videotape? Are you out of your mind?" she asked. "You have to tell the rest of the family so they can decide if they want to change their names or leave the country. News like this travels fast."

"You're not kidding," I said. "We've already had two attorneys and a talent agent call. The lawyers called to say they're revoking all karaoke licensing rights to 'I Got You Babe.'"

"What did the talent agent want?"

"He called to say Cher heard about our performance and is considering a third farewell tour to redeem the song."

Karaoke Artwork
The media-based works in German artist Christian Jankowski's exhibit, "The Day We Met," are understated, almost bland forms of entertainment. Yet they manage to raise the big questions pertaining to contemporary art, namely whether it still has the power to inspire.

Jankowski's conceptually-based works involve collaborating with unassuming people situated in different cultures. It's hard to tell what portion of his "performances" has been staged, and what's been done impromptu, resulting in comical situations.

For a recent Artsonje exhibit, Jankowski created a karaoke-based piece that shares the title of the show. A recreated "Prometheus" karaoke room blocks off his other works on the third floor.

At first, it's hard to figure out where the art is (as is the case in many of his works). Then you realize that the tall Nordic man in the background video is Jankowski. He hired a Korean scenario team, TV drama director and models to make scenarios for the background videos that accompany karaoke tunes. Jankowski becomes a well-coached actor in an alternate world, trying to win the affection of Kim Yeon-soo, the 1999 Miss Korea, with birthday cake, flowers and staged kisses.

Like Jankowski himself in the background videos, a visual transformation takes place when ordinary people are placed under his projects' lens. The artist does a literal take on this in "Flock" (2002). The DVD shows gallery goers in Sheffield, England being turned into sheep by magician Paul Kiev. The fluffy viewers, baaing and bleating along the way, take a stroll around the magic-based exhibit before they are reconstituted.

The magician's trick is not that amazing. Considering all the wonders of special effects, it's easy to imagine the illusion being the swift job of an editing technician. How or what the viewers were experiencing as they walked through the gallery in sheep's clothing is the real magic-they applaud appreciatively at the end of Kiev's act.

There is a price to playing music in public

By LEE ARNOLD

On the inside of every compact disc sleeve, a jumble of letters appear by the songwriter's name on each track. The jumble simply says ASCAP or BMI, and while it appears to be nothing, it means something. It is the name of the company that licenses the right to perform the songs in public.

Sharkey's in West Virginia is the defendant in a federal civil lawsuit filed by Broadcast Music Inc., a music rights organization that as a catalog of protected music that includes millions of titles.

The lawsuit claims that Sharkey's played songs from the BMI Inc. catalog without paying the company for the rights to do so. The lawsuit specifically named violations by cover bands and during karaoke sessions.

Jeff Henson, who handles karaoke duties at Sharkey's, said the lawsuit is unprecedented and without merit, and Sharkey's will be hosting karaoke as usual at 10 each night.

Henson claims that the music used during karaoke is from music sources that have already paid BMI Inc. and the American Society of Composers, Authors and Publishers (commonly known as ASCAP) for the rights to have the songs performed publicly.

"I have never heard of BMI suing someone for playing karaoke songs," he said. "The CD manufacturers pay those rights."

According to the Web site for BMI Inc., www.BMI.com, the company's primary goal is to protect the rights of the artists in its catalog. On its Web site, it quotes Willie Nelson as saying more of his music reaches patrons in restaurants than he reaches in concert every year.

"Is it fair to legislate away the songwriter part of my career?" Nelson asked on the Web site.

Hensley would not say whether songs in the BMI catalog would be played during tonight's karaoke session. He did say BMI representatives refused to provide him with a list of artists whose material is licensed through BMI.

"A lot of people are going to be here to support us in our battle," he said.

Singing karaoke lifts spirits of those in rehab

By CAROL SMITH

It was, perhaps, the least likely venue for the song.

And the best.

Christine Duggan, a former DJ, gets into the mood of Guns N' Roses "Sweet Child of Mine" during karaoke night at Harborview Medical Center in Seattle. Duggan, former Harborview patient, was the emcee this week.

"Celebrate good times. Come on!" Christine Duggan belted from her wheelchair at Harborview Medical Center earlier this week. The pounding bass of Kool & The Gang on the karaoke machine thrummed through the fourth-floor rehab gym as she boogied in her chair. Only six months ago, she was a patient in this same wing after a devastating car accident.

Within minutes after the singing began, the patients started drifting in. They came on walkers and in motorized chairs. They dragged with them weakened limbs and wounded spirits.

But Duggan, a former disc jockey, believes music is nothing if not good medicine. So she and her partner, Greg Kirkpatrick of Emerald Forest Productions, brought their sound equipment to Harborview for a first-ever karaoke night this week.

"Music changes your emotions," said Duggan, who has sung karaoke for 12 years. "It's always been my release. It's cool to be able to share it."

Duggan, 33, was driving home to Mount Vernon after playing host to a karaoke evening when her car went out of control on a foggy corner in March.

"I wasn't wearing my seat belt, and I broke my back. "My whole life changed all of a sudden," she said.

Doctors weren't encouraging about her chances of walking.

"I said, 'Is the glass half full or half empty or what?' " she said. "They said, 'There's no water in the glass at all.' "

At first, she was paralyzed with anger. "For months, I laid in bed and cried. I couldn't imagine my life anymore."

Then she saw a production of William Shakespeare's "The Tempest" as part of a hospital theater workshop, and it made her think about how art in all forms -- drama, literature, painting and music -- could help people heal.

The play, which Freehold Studio put on as part of an arts program at Harborview, got patients talking about loss, anger and survival, said Peggy Weiss, who manages the 2-year-old program.

For Duggan, it provided a watershed moment.

"I realized I had to forgive myself for not wearing my seatbelt," she said.

And for the first time since the accident, she started thinking about what she could do with her life.

"I could still sing," she said.

Duggan, whose bubbly personality helps ease even "karaoke virgin" jitters, was the emcee at the event. By the end of the evening, more than a dozen patients had tested their pipes at the mike.

"B-B-B-B-Bad to the bone," sang Tom Hoff, 49, who nearly brought down the house with his rendition of the George Thorogood classic. A stroke has robbed him of movement on his left side.

"The head nurse spoke up, and she said leave this one alone -- she could tell right away, that I was bad to the bone," he crowed from his wheelchair.

"It made me feel good," he said later. "Of all the places I've ever sung karaoke, I never got that big of applause before. It overwhelmed me."

Todd Lowery chose Lynyrd Skynyrd's "Simple Man" for his karaoke debut.

Christine Duggan gets into the mood of the song as patient Eric Anderson, right, and recreational therapist Chrystal Smith hook up for a duet during karaoke at Harborview Medical Center.

"Take your time. Don't live too fast," he sang, tentatively at first, then gathering strength. "Troubles will come, and they will pass."

"It's how I try to live my life," he said, swinging his body in a walker as he made his way off the makeshift stage. Singing was a welcome break from the tedium of living three months in rehab, he said.

Many of the 40 or so patients, including some psychiatric patients, seemed nervous at first, but after a while, they were swaying their arms to Guns N' Roses and doing the time warp to the "Rocky Horror Picture Show" theme.

A quadriplegic patient in a motorized chair mouthed along to Gloria Gaynor's "I Will Survive."

Said Weiss, "When you're brave enough to face some of the things these guys are coping with every day, singing in public is nothing.
Karaoke around the world -
Great Britain

Karaoke crooners love to Monkee around

DAYDREAM BELIEVER by The Monkees is Britain's top karaoke tune, according to a new survey out today.

The singalong hit is the number one choice for would-be Pop Idols across the country.

My Way by Frank Sinatra came second followed by the ladies' favorite, I Will Survive by Gloria Gaynor.

O' Blue Eyes made the poll again at number four with New York, New York, and Robbie Williams was close behind with Angels.

The survey asked 1,000 people to name their favorite karaoke song.

It also asked for their least favorite - and Barbie Girl by Aqua topped the list. Other tortuous tunes included Meatloaf's Bat Out Of Hell and My Heart Will Go On by Celine Dion.

The poll was commissioned by the Hungry Horse pub chain to launch its new Karaoke Krazy competition. The nationwide contest is raising money for the charity CancerBACUP. The winner will receive a £10,000 prize.

Favorite karaoke tunes:

1 Daydream Believer - The Monkees

2 My Way - Frank Sinatra

3 I will Survive - Gloria Gaynor

4 New York, New York - Frank Sinatra

5 Angels - Robbie Williams

Least favorite:
1 Barbie Girl - Aqua

2 Bat Out Of Hell - Meatloaf

3 My Heart Will Go On - Celine Dion

4 I Will Always Love You - Whitney Houston

5 The Wind Beneath My Wings - Bette Midler

Folk-a-fied, Country-fried, Pop-Rock-Blues-Electronica

By Lis Lewis
from Singer Magazine

What you sing and how you sing it defines who you are

All your life you've listened to music. At various times you've turned to different artists and different styles to give you comfort or make you dance. There isn't one style that meets all of your needs, so when it comes time to record your own record, you might feel that you want to demonstrate your versatility and sing a variety of styles.

If you are aiming for a record deal you will need to narrow down what you present to its essence. Instead of a little of this and a little of that, you must show the world one strong complete package that makes a clear statement: one style.

Choose Your Identity
Most singers love more than one style of music. Maybe you've heard Gwen Stefani sing her brand of ska music and then branch out to hip-hop, or Garth Brooks defining himself with country music and then making a rock and roll album as his alter ego Chris Gaines.

"While you are developing your audience and your fan base, you need to have a clear, strong vision of who you are and what you represent"

Every artist would like to be able to explore different types of music. But even these two artists who are so talented and flexible started with one remarkable personal statement in one style. No Doubt's first record wasn't a little ska and a little hip-hop. It was all the same brand of exuberant, savvy pop/ska.

While you are developing your audience and your fan base, you need to have a clear, strong vision of who you are and what you represent. Are you a folky pop poet like Jewel or a young, light-hearted dancer like Britney Spears? Are you putting out aggressive rock/rap like Linkin Park or a romantic soul/R&B singer like Brian McKnight? Your audience needs to know who you are and be able to recognize you. If you are a "jack of many trades" you have no clear identity.

Choose Your Voice
What style is the best one for you?

Start by looking at what you love. You can't sing something you don't you have a passion for.

Second, the songs you sing best will be the kind of songs you have listened to all of your life. These are the ones you understand the best. In other words, if you have never listened to blues, you can probably cross blues off your list of potential styles.

But just because you love to listen to a certain type of music doesn't mean you can sing it. Be discerning about the difference between what you love to listen to and what you sing well. Even though I've listened to Aretha Franklin all of my life, and even learned to sing a lot of her runs and licks, I would never try to sing a song in her style. I just wouldn't sound right doing it.

If you can, be objective. If you can't, ask someone who you can trust to be honest with you. Each style has conventional ways of using the voice. When do you use vibrato? Should you use your head voice? When do you slide? How elaborate are the runs? Is your voice rough or sweet?

If you could hear Sarah McLachlan sing a Sheryl Crow song, she would sing it in a lighter and prettier style. She would use her head voice where Sheryl Crow would belt it out. Sheryl Crow sounds tougher-there's more gravel in her voice.

You learn these conventions and absorb them through years of listening and imitating the artists you admire. If you've been listening to Christina Aguilera then you will be used to singing long strings of notes and working with syncopated rhythms. You'd be learning entirely different licks and sounds if you've been singing with Alanis Morissette. All styles have characteristics of their own. When you understand what makes a style unique you can learn how to sing it.

The Song Remains the Same
Another major factor is your selection of songs. If you are writing your own songs they will influence your direction. Each genre of music has a specific approach to lyrical content and rhythmic and harmonic elements. If you write complex, intimate lyrics like Tori Amos then you probably aren't going to sing romantic R&B. Pop/folk songs won't have the kind of driving rhythm elements as a rock or hip-hop track. Of course, there is a lot of overlap, which is why every now and then an artist in one genre will cover a song from another genre. Ray Charles did an album of country songs. Shawn Colvin did a record of mostly rock songs. They blur the lines between styles.

Each style still has its own attributes. Your job as the singer is to know what they are. As you explore various styles in search of the one that's perfect for you, you may find that you want to combine elements from different styles into one. This is the mark of a creative person. Can you sing a hip-hop melody over a crunchier rock guitar sound? What about combining an electronica track with an aggressive rock melody? It can be done. But that doesn't mean you will have a record that has a rock song and then an electronica song on it.

All the songs should share a common concept and stylistic approach. They should express your vision, your stories and your soul. The songs will call for a distinctive sound on your vocal and instrumental tracks. Your creative efforts will succeed if you establish a unique but consistent style that is all yours.

Lis Lewis is publisher of Angel City Voice, News For the Pro Singer and owner of The Singer's Workshop. Reach her at www.thesingersworkshop.com or to her e-mail newsletter at TheSingersWorkshop-subscribe@topica.com.

10 Seconds to Win
By Tom Patrick McAuliffe
from Singer Magazine

Tried and true ways to quickly capture the audience's attention

That great American song and dance man, George M. Cohen, once said, "The most important part of any act is the first ten seconds and the last ten seconds...what happens in between isn't that important." When the spotlight hits, you've got to make the first ten seconds count or you've lost your audience. This is not to say you won't be able to get them back on your side, but once they've turned their attention elsewhere you'll need to work twice as hard.

Can I make folks like me in only ten seconds? Sometimes it takes less time than that, and sometimes it just never happens (like the time I was booked into a club that was into heavy metal). Although it's not rational, sometimes people and audiences make a snap judgment about whether they do or don't like a performer within a few seconds.

"When the spotlight hits, you've got to make the first ten seconds count or you've lost your audience...Once they've turned their attention elsewhere, to get them back on your side you'll need to work twice as hard."

To truly capture the heart of a listener requires a command of four major elements: pitch, volume, tone and emotion. I know from first hand experience that communicating the lyric can overcome whatever musical shortcomings may arise, within reason.

HelloooHellooo
How can you tell if the audience is with you? Simple. Watch their body language. Are they tapping and clapping or talking and throwing things? (Don't laugh-it has happened!) Once two people stop listening to you and start talking, you've lost them. Little coughs, clearing throats and squirming people in chairs...they're gone! I played a club recently and upon arriving to the location found the outline of a body on the pavement, an obvious homicide-what a motivator! Perhaps that was their last vocalist?

If you are going to be a pro or even semi-professional singer, you need to develop a thick skin and be able to keep your eye on your goals. I recently played a casino and performed at some of those little watering holes right on the casino floor. Talk about big time distractions! Some of these folks wouldn't pay attention if Elvis himself came in and sang! Like the song says, it's nice work if you can get it, just don't expect the audience to listen very much. Right from the get-go, the person who hired me made it clear, "Your job is to keep those butts in the chairs long enough for them to order a drink or two and do some gambling. I wanna see toes tapping and smiles, but most of all I wanna hear the unfolding of 10s and 20s!" Gambling casinos aside, there are some things you can do to command attention, thus ensuring that your time on stage starts off on the right foot.

Look for the Applause Button
Police say that before any major theft criminals always "case the joint." Before your gig, explore the layout to see if there's anything unique about the location that can lend itself to your act. I recently played a special event at an old courthouse that's been converted to a museum. After singing the opening verse, I made my entrance by coming down a grand staircase from the balcony of the main rotunda, and although the acoustics were cave-like, I looked really good. I typically try to come from the back of the room after being introduced (you should always try to get someone to introduce you if possible...it lends credibility and authority as you take the stage.)

As inconspicuously as possible before the show, look over the audience and see what your listeners are like. What's the vibe of the room? Most importantly, know where your friends and other applause-starters are seated. I know of one singer who places a few of her friends at strategic spots in the audience so they are not all bunched together. The idea is that one applause-starter can encourage others around to do so. It always pays to treat your relatives and friends to free admission or a round of drinks or whatever.

The Ice Breaker
Getting your act off to a great start is critical. The first time I saw Wayne "Mr. Las Vegas" Newton I was immediately taken by his stage presence. He came on, sang the first few verses, and then yelled: "Stop the music!" He then walked out to the apron of the stage and called out "Folks? Ohhh folks...is anyone out there? Are you ready to have a good time? Loosen your ties, belts, girdles or whatever, 'cause we're going to have some fun." For ninety minutes I saw the man cover almost every genre of music and play three different musical instruments well. When he left the stage his ovation lasted three minutes and ten seconds-I timed it.

After that great icebreaker, the folks were "on his side" and ready to be entertained. It's extremely important to find a good intro, story or clever remark to use right after your first song, so your act will start with a nice burst of laughter and hopefully some applause. You can find great sources of comedy in everyday situations, in the news, in joke books, or at online humor sites.

Cool Communication
As you walk on stage, make eye contact with individuals in the audience as if you recognize them. The action will be spontaneous. Some will actually believe you recognize them. Even if you can't see them because of the lights, look at them with a warm smile. Remember, your goal is to win them over in ten seconds, so go out of your way to reach every section of the room, left, center and right. The expression on your face when you sing is also important. Too many times singers look as if they're in pain. Nobody likes pain.

Play it cool and don't come across as if you are trying too hard. Make it look easy. You must give the audience the impression that singing comes easy, that you are happy to be there (without being too gushy), and that you're a pro who's in control and ready to have a good time with them. Practicing in a full-length mirror is a great way to check out how the audience sees you. If possible, every performance should also be video taped. You can use the footage for analysis, and if it's good enough, for your promo package.

Tom Patrick McAuliffe is a professional entertainer. His CD, Love Is In The Air, is available at www.cdbaby.com and he's currently auditioning in Las Vegas. Visit him at www.tompatrick.com or e-mail him at reelcom1@attbi.com.